The Wood Brothers always opt for timeless themes and methods, and never more so than on ‘Kingdom In My Mind.’ This record satisfies the soul today and will satisfy the soul just as well many years from now.

Cobbling together something new from things old is not a Jeff Parker invention. But his unique take on this approach makes ‘Suite For Max Brown’ so much more accessible.

Here’s a tantalizing suggestion of what Walter Becker’s debut might’ve sounded like if he made ’11 Tracks of Whack’ more like ‘The Nightfly’ instead of ‘Plastic Ono Band.’

Samuele Strufaldi and Tommaso Rosati’s ‘1.15 K’ is fascinating not just because of the colliding of two musical worlds, but the creativity that went into it.

It’s clear how Gordon Grdina?’s Nomad Trio got their name: They wander without a clear map through vast musical terrain few can even attempt, and make it to the other side unscathed.

With Kait Dunton’s ‘trioKAIT Live at the Blue Whale,’ the integrity of the compositions and the sheer musical ability holds up just fine on stage, thank you very much.

As the Radical Empathy Trio, Thollem McDonas, Nels Cline and Michael Wimberly brew up two extended 20-minute performances that liberally mix acoustic with electronics.

‘Become the Discovered, Not the Discoverer’ by Keiji Haino, Merzbow and Balazs Pandi ain’t got no edits, no overdubs, nothing planned in advance. Just pure unadulterated impulsiveness.

With ‘Ineffable Joy,’ Ivo Perelman makes a significant addition to free jazz’s most fabled record company catalog.

Using high-level musicianship and a great sense of harmony and rhythm to carry out one instantaneous idea after another is the trademark of Claudio Scolari Project.